On the contrary, new research in neuroscience and other fields is beginning to tease out specific geometric properties that shape the richness of the past – and too often, the poverties of the present

ABOVE, Two environments not far from one another in London. Left: Seven Dials, dating from the late 17th century. Right: a typical office complex from the 20th century. These environments can be better understood as geometric structures manifesting specific measurable properties. Image credits: Left, John Sutton via Wikimedia Commons. Right: Michael Mehaffy.
EDITOR'S NOTE: This article is part of a series of discussion posts contributing to the 62nd International Making Cities Livable (IMCL) conference in Potsdam, Germany, 15-18 October, 2025.
POTSDAM, GERMANY - Walk through almost any historic city center in the world, and a curious phenomenon plays out. People slow down, look up, smile. They take photos, sit in plazas, lean against old walls, meet friends under cornices and clocks. Something about these older places seems to resonate. “Charm,” we often say, or “character.” We chalk it up to nostalgia, or cultural memory, or maybe the warm glow of patina and time.
But new research suggests there’s something more going on—rooted not in sentimentality, but in human perception, cognition, and biology.
Recent research in neuroscience, environmental psychology, and architectural theory suggests that the architecture of the past isn’t appealing simply because it’s old. Instead, it may be more fundamentally aligned with the way human beings experience and interpret the built environment. Traditional buildings—whether Chinese courtyard houses, Moroccan riads, European townhouses, or Japanese machiya—share certain underlying spatial patterns and visual properties that modern buildings, particularly those built after around 1930, often lack.
This discovery invites us to reframe a familiar question: Are we drawn to old buildings just because they’re old? Or are we responding to something more intrinsic—something these buildings do, cognitively and emotionally?
A Different Kind of Sophistication
To some, traditional architecture may seem “quaint,” “simple,” or even “primitive”—a leftover from a time before modern materials and methods gave us glass towers and sculptural forms. But that view misses something essential. These older forms of architecture are in fact highly sophisticated—not in terms of high-tech materials, but in how they engage the human mind and body.
One key example comes from the field of cognitive psychology. In the 1950s, George A. Miller introduced the concept of “chunking,” which describes how humans process information in manageable groups. Traditional buildings do something similar: they organize elements like windows, arches, and ornament into visual clusters and sub-clusters that are easy to read. In contrast, many modern buildings feature vast blank walls, stark uniformity, or abstract forms that are harder to “chunk.” The result? A cognitive load that is heavier, and less pleasurable.
Then there’s fractal geometry. Traditional environments often show repeating patterns at different scales—a doorway with panels, a courtyard with layered edges, a street that reveals itself gradually through smaller openings. These patterns mirror those found in nature, and studies in neuroscience have shown that people respond positively—even physiologically—to such patterns. Blood pressure decreases, attention improves, and feelings of well-being increase when people view environments rich in natural or fractal forms.
Many modernist buildings, by contrast, intentionally avoided these characteristics. Architects of the 20th century sought to break with the past—to strip away ornament, reject symmetry, and embrace pure abstraction. But in doing so, they also stripped away some of the very elements that connect buildings to the human organism.
Symmetry, Scale, and Sense
Christopher Alexander, the architect and design theorist, spent decades studying what makes certain buildings and spaces feel “alive.” In his four-volume work The Nature of Order, he identified fifteen structural properties that occur repeatedly in environments that people find beautiful, comforting, and coherent. These include features like:
Levels of scale – patterns and forms that repeat across different sizes
Local symmetries – balance that is centered and relational, rather than rigidly imposed
Positive space – forms that define and enliven the spaces around them
Gradients – gentle transitions in size, density, or intensity
Roughness – minor imperfections that contribute to an overall sense of harmony

Traditional architecture embodies these properties almost universally—not because of any ideological or symbolic intent (which can vary enormously, of course), but because these patterns emerged naturally, through generations of trial and error. Builders intuitively created forms that fit the body, the climate, the materials, and the culture. And they did so in ways that supported orientation, comprehension, social interaction, and well-being.
By contrast, many modern buildings are dominated by singular ideas or visual effects, often with few layers of structure or scale. The result can be buildings that are visually striking—but also confusing, alienating, or difficult to inhabit.
But Weren’t Traditional Buildings Political Symbols?
Some critics argue that traditional architecture is tied to outdated ideologies, or worse, oppressive regimes of the past -- but that’s a misconception. It’s true that fascist or authoritarian governments have sometimes co-opted classical architecture—but so have democracies, religious communities, indigenous cultures, and peasants. The forms themselves are not ideological—they are structural, spatial, and human.
Claiming an ideological association is like saying that the alphabet is ideological because it was used by dictators and slaveholders. Of course, no one seriously argues that because of this association, we should stop using words or language. The same is true for traditional forms of design—they are tools, developed over time, to meet human needs.
And indeed, traditional architecture is not one thing—it is a vast, diverse family of approaches shaped by different materials, climates, and cultures. What unites them is not a single style, but a set of structural principles that respond to human perception and bodily experience.
What This Means Today
None of this is an argument for going back in time or rejecting modern technology. Rather, it’s an invitation to bring forward what was best in traditional architecture—those patterns that support human well-being—and to combine them with contemporary insights and capabilities.
This is already happening. New urbanist developments are borrowing traditional forms to create walkable, sociable, human-scaled places - often very successfully, as new research shows. Neuroscientists are working with architects to design environments that reduce stress and enhance cognitive function. Planners are rediscovering the importance of local identity and complexity in urban design.
These efforts aren’t about copying the past. They’re about recovering lost knowledge—about how the built environment can support our health, our understanding, and our happiness.
The Timeless in the Familiar
That makes it clear that we don'e love old buildings just because they’re old. We love them because they speak to us—visually, physically, emotionally—in a language we’ve always understood, even if we don’t always know why.
Thanks to new research, we’re beginning to understand the why. And that gives us a chance to do better—not by idolizing the past, but by learning from it. Because a building isn’t just a machine, or a sculpture, or a manifesto. It’s a place for life. And when it’s shaped with care, coherence, and human meaning, we feel it—sometimes without even knowing it.
That’s not primitive. That’s profound.
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Founded in 1985, the IMCL is a unique peer-to-peer gathering of city leaders, researchers and practitioners, sharing the latest knowledge and research into action on making cities livable. For more information: https://www.imcl.online/